-

RASA-RAJASRI SRI GAURANGA

A Study of Sri Gaurangas intimate, hidden side (like Sri Krsna as the !n"oyer of madhura rasa, #olle#ted from a host of Gaudiya maha"ana authors $aratatt%a Sima Sraddhan"ali (A Re%erential &ffering Many mahatmas have left substantial contributions in the Vaisnava world; but one in particular stands out in my mind a humble bhakta who never made a disciple, and who hid from recognition. Still, amongst scholars and bhaktas he is a favourite, regarded author; for the 65 various Gosvami and Mahajana sastras that he translated and published serve as an indispensable aid for many. So Sri aridasa dasa !aba of "avadvipa#s aribola $utira doesn#t need an introduction. owever, through his own volumous research also, one finds perhaps the most in%depth study on &audiya Vaisnavism. 'hose reading aridasa dasa#s boo(s easily gain a trust for his credibility. )or his vast scholarship, unbiased opinion and broad outloo( reveal a deep admiration for every &audiya Maha*ana and true follower of &auranga Mahaprabhu. 'hus his vast array of Vaisnava literature is worthy of admiration. 'his volume has been graced by his insight on +asara*a Sri &auranga Sri 'aridasa dasa (ahara"a-"i ,ppearance -./. 0isappearance -/51 )ore*ord jaya rupa sanatana bhatta raghnatha sri jiva gopala bhatta dasa raghunatha ei chaya gosai kari carana vandana jaha haite vighnanasa abistha purana !efore our topic begins, let us invo(e auspiciousness by ta(ing shelter of the followers of Sri +upa and Sri Sanatana &osvami; those who tread the raganuga bhakti path which culminates in the madhura seva of Sri Sri +adha &ovinda.

,n ideal e2ample of how bhaktas may awa(en such bhakti is e2amplified in the live of Sri +aghunatha dasa &osvami. +aghunatha, once the pampered son of a wealthy landlord whose young wife rivaled the beauty of an apsara, (eenly desired to *oin Sri 3aitanya#s bhakta assembly. 4verytime he attempted to leave home, however, his parents would somehow catch and bring him bac(. 'hus his repeated attempts to *oin the 5ord all failed until one day, when he got Sri "itai 3andra#s mercy. 'his remar(able happaned at 6anihati village, where, by a stro(e of luc(, +aghunatha fortuned to satisfy Sri "ityananda and is associates by arranging a huge feast. 'hus securing "itai#s blessings, the means to escape samsara1 presented itself, and +aghunatha soon reached the lotus feet of Sri 3aitanya deva at 6uri. !ut +aghunatha#s fortune went on increasing for being pleased, Sriman Mahaprabhu placed him under Svarupa 0amodara#s care for learning the intimate matters of rasa-tattva and prema-seva. 'hus in such e2alted association +aghunatha passed his days in paramananda. !ut later, after the disappearance of the 5ord and Svarupa 0amodara, +aghunatha felt destitute and wanted to end his life7 'hus he thought8 9: shall go to Vra*a, ta(e Sri +upa and Sri Sanatana#s darsana, and then *ump from &ovardhana79 ;pon arriving before +upa and Sanatana, however, they forbade him to commit suicide. +ather, they (ept him within their inner%circle and imparted upon him the last course of his bhajana-siksa, manjari upasana. 'hus is the mood of Srimati +adharani#s helpless maidservant, Sri +aghunatha passed the last days of his live weeping in her separation on the ban(s of +adha(unda... and entered +adha $rsna#s nitya lila in manjari bhava. 'o the belief of many &audiya Vaisnava#s, Sri +aghunatha#s life story is an e2cellent e2ample illustrating that Sri 3aitanya#s prema dharma culminates in manjari bhava. ,nd suffice it to say, this is not a false assertion. )or after sending the Si2 Gosvamis to Vrndavana, and empowering them to establish a cult centered around +adha $rsna worship, Sri 3aitanya certainly did desire that is followers attain the prema seva of the manjaris. !ut from the consumate Gaura bhaktas, surely a befitting <uestion can arise+ 9:f manjari bhava is the final word and the highest attainment of 3aitanya Vaisnavim, what about &aura lila and its worship= >as &aura Avatara simply meant for providing the opportunity to enter madhura Sri Vrndavana=9 :ntrospective &audiya Vaisnavas (now, &aura lila has a deeper purport + it represents the continuing further e2pressions of prema bhakti which Rasaraja $rsna yearns to relish with +adhi(a and er gopi confidantes. So herein, we can discover that along ith our eternal Vra*a lila role we have an eternal role with &aurasundara, which is, indeed, the sadhya ?ultimate goal@ to all our spiritual practices as well. Aet raga marga Rupanuga bhaktas do worship &aura lila. $nowing that $rsna advents as &auranga to accept +adha bhava, they meditate on &aura#s +adha bhava lilas before meditating on Vraja lila in manjari bhava. !ut the outcome that often occurs when following this system is that one#s attraction for +adha $rsna#s lila far outmatches one#s attraction for &aura#s. ence, only briefly dipping into &aura lila, such worshippers fully submerge themselves within $rsna#s Vraja lila sindhu. B ,t this point, however, a whole new world of rasamaya bhakti can begin and this path, inspired by Rasaraja &auranga, is the topic of this boo(. :n other words, after a brief worship of &aura in Radha bhava, and after submerging oneself for a long time in +adha $rsna#s nikunja lilas one my re% surface in "avadvipa again to ta(e up &auranga#s rasaraja worship. !ecause Sri &auranga is mahabhava svarupini +adha and rasaraja $rsna combined, both features form an e2cuisite enrapture for is bhakta followers to share with im.
C

>hen viewing the entirety of &audiya Vaisnavism, we find that the Si2 Gosvamis# teachings form a ma*or pillar of Sri 3aitanya#s prema dharma. ,nd when sampling the Vraja rasa, who wouldn#t agree= ,,, the manjari seva which can be had by following in Sri +upa and Sri +aghunatha#s footsteps is unmatched. ,nd hence, Sri 3aitanya dispatched them to Vrndavana for teaching such mellows. !ut to learn the confidential secrets of &aura lila, one will greatly profit to hear about Sri &auranga#s amaDing <ualities from the mahajanas whose attraction mainly focuses on im. So, to do so, we shall now ta(e shelter of ,dvaita ,carya, &adadhara 6andita, "arahari Sar(ara, Vasudeva &hosa, Murari &upta, sivananda Sena, $avi(arnapura, 5ocana dasa, and many others, who are steeped in the mellows of Sri &auranga#s rasaraja worship. 'hen, from their versions, we shall find that along with the Vraja mannjari bhava, Nadiya nagari bhava is a very sweet mellow that Sri &auranga wishes to share with all of is followers. 5earned Vaisnavas (now that the mahajanas mentioned above wrote about Nadiya nagari bhava- but when saying Emany others#, e2amples from +upa &osvami, Sanatana &osvami, $rsna dasa $avira*a, "arottama dasa, Visvanatha 3a(ravarti and even !ha(tivinoda 'ha(ura will be presented which support this bhava. ence, a noteworthy feature of this essay is that a comparison of the Vrndavana and the "avadvipa mode of raganuga bhajana is presented to form a bridge of understanding between the two schools.

In%o#ation

(/ sriman navadvipa kisora candra ha natha visvambhara nagarendra ha sacinandana citta caura prasida he Visnupriyesa gaura (Sri $ra0hodananda Saras%ati 9 Fh handsome, youthful moon of "avadvipa7 Fh 5ord Visvambhara Aou are the 5ord of all nagaras7 Fh hey sacinandana7 ,lthough Aou are steeling my mind, : (now very well that Aou are Visnupriya#s golden ranesvara.9 (1 , sacira konara, gauranga sundara, dekhinu akhira kone alakhite citta, hariya laila, aruna nayane bane sei marama kahinu tore eteka divase, nadiya nagare, nagari na rabe ghare ramani dekhiya hasiya hasiya rasamaya katha kaya bhaviya cintiya mana darainu parana rahibara naya
G

kona punyavati bujhaye rasa vilasa tahara carane kahaye govinda dasa

jubati ihara hrdaya dhariya

9Fh sakhi7 :#ll tell you a secret + when loo(ing from the corner of my eye, : saw the Son of saci, Sri &auranga sundara. !ut when no%one was watching e shot me with the arrow of is reddish tinted glance7 ,nd nowadays not one Nadiya nagari can remain at home- for seeing a sundari ramani, e smilingly spea(s all sorts of rasamaya entreaties. >hile thin(ing over the matter, : am trying li(e anything to hold onto my patience still my heart races after im7 So who is the pious, young girl who can fathom is rasa vilasa-= &ovinda dasa sais, my heart grasps her lotus feet.9 ?G@ 2o#ana dasa 3hakuras In%itation cala go sajani, piriti nagare, basati karige mora marama na jane, dharama vakhane, caurasi bhrammibe tara sadaa duyare, kapata haniye, khirki daraja khola cala go sajani, niscinta haiye, adhare dekhige ala alara bhitare, gorare dekhibi, nayana rakhibi tatha se desera katha, e dese kabile, marame paibi byatha se dese e dese, mesamisi ache, e katha na kaba kake se dese e dese, anek antara, janaye sakala loke piriti nagare, manusa ratana, viraje sahaja ghare dharma karama, kulera acara, sekhane jaite nare ei dasa locana, kahaye vacana, dasadik tara ala -@ rasa vilasa + con*ugal, loving pastimes

4hamali

9Fh come sakhi7 5et#s go reside in piriti nagara-. !ut we#ll have to be careful, for even staunch religionists can#t fathom this realm. 5et them go on wandering through eight million, four hundred thousand births. !ut sakhi, come7 >e#ll latch the front door, and fearlessly enter through a secret passage ,,, to see the light7 ,ho7 >ithin the effulgence we#ll see &ora ans satiate our eyes7 !ut don#t tell about piriti nagara, lest you#ll become sad ?as the people will scorn you.@ >e#ll *ust have to (eep the news of our going a secret. 5isten ,,, :n piriti nagara there is a *ewel%li(e ?golden@ purusa, and it is easy to enter his bedroom. !ut first one must discard dharma, karma and wordly chastity to go for they cannot stand beside im. 'hus 5ocana sais, &ora#s effulgence fills every direction.9 'his poem by 5ocana dasa, and the previous two selections from Srila Visvanatha and &ovinda dasa, certainly reveal a mysterious topic that will surely puDDle most Vaisnavas. ,lthough these three &audiya mahajanas are males in &aura lila, they are tal(ing *ust li(e young, attractive girls of "adiya. So what does 5ocana mean by Epiriti nagara# ?the abode of love@= ,nd doesn#t the means to go there sound mysterious too= !ecause such lilas are Epra!!anna#?hidden within an inner%realm amongst Sriman &aurasundara#s other pastimes@, only a few fortune to (now about them and fathom their sweetness. So as this volume is devoted to understanding and glorifying Sri &auranga#s most intimate rasaraja aspect, we hope that our readers protect this lofty, controversial topic as one conceals a rare and priceless gem.
H

the madhukaraC

-@ piriti nagara+ the abode of love C@ madhukara+ a honey collector ?bee@ A $relude to the Lila :n the invocations first sloka, Visvanatha 3a(ravarti adresses Sriman Mahaprabhu as Nagarendra, the 5ord amongst nagaras ?flirtatious romantics@, but Srila ,dvaita ,carya calls im "Nagara siromani#, the 3rown%*ewel amongst such personalities. !efore probing deeper into the significance of these statements, however, let us spea( something to help broaden our appreciation for the absolute authority which Sri ,dvaita wields. ,lthough e is (nown for is heart%rending cries which bring about &aura Avatara, 3aitanya 3aritamrta, Antya -/ goes on+ 9,dvaita ,carya is an e2perienced pujari >ho (nows all of the sastras imports. 'hus to worship, performs austerity, calls the 0evata, and upon completing the puja, sends im away.9 e

Sri 3aitanya spo(e this riddle to disclose that is entire lila is directed by ,dvaita. Aet should this appear astonishing= )or ,dvaita#s sakti, Sita #hakurani, is $ogamaya, by >hose omnipotency everything happens in &aura lila. 'hus with is inside (nowledge about the 5ord#s internal affairs, e reveals the following confidential siddhantas in is prayers entitled 9Sri Sri &auranga pratyanga varnana(hya stavara*a9+ 5erse 6 ardhacandrollasbhala kasturitilakanvitam bhangura bhrulatakeli-jita-kamasorasanam 9&aurasundara#s forehead is li(e a brilliant half%moon adorned with beautiful mus( tilaka- yet below lur(s is flirting eyebrow%bows which defeat the might of %ama deva&s flower arrows.9 5erse /7 kotikandarpa-labanya-keli-lila-manoharam saksatlilatanum kelitanum srngara vigraham 9Sri &aurasundara#s prema keli is absolutely manohara- li(e that of millions of 3upids- for ,bode of prema keli and a srngara rasa vigraha.9 e is the

rema keli and srngara rasa renowned traits of Sri $rsna in is kisora lila with the gopa sundaris. !ut here ,dvaita#s depicting &aurasundara in this way is remar(able. Still, e goes on+ 5erse 16 nijabhava rasasvada vibasaikadasenriyam vidagdha nagari bhava-kala keli manoramam

9,lthough Mahaprabhu#s eleven senses are completely overwhelmed by is own bhava, rupa and rasa is divine keli vilasa with the clever and rasa%s(illed Nadiya nagaris is simply enchanting79 -@ manohara+ mind stealing 'hus ,dvaita reveals with whom &auranga srngara rasa affairs ta(e place- but who are the nagaris= 'he ne2t slo(a begins telling+ 5erse 17 gadadhara premabhava kalakranta manoratham sriman narahari premarasavihabalamanasam 9&auranga (eenly desires to taste the sweetness of &adadharas prema bhava and rasa keli s(ill. Moreover, Sriman "arahari#s prema rasa enslaves im.9 Fwing to their internal nari bhava and rupa, &adadhara and "arahari are chiefs amongst the Nadiya nagaris, for previously they shared similar bhavas with $rsna, as +adha and Madhumati sakhi. !ut one might wonder+ Ehow e2tensive are such moods amongst &aura#s other associates=# 'he ne2t verse reveals+ 5erse 18 sarvabhagavatahuta kantabhava prakasakam prema pradanalalita dvibhujam bhaktavatsalam 9'hakta-vatsala Sri &aurahari han(ers to ta(e up his splendid kanta bhava with every bhagavata associate. ;sing is graceful, two arms e embraces them to award ? madhura@ prema.9 %anta bhava means the 5ord#s mood as a lover, or amorous hero. 'hrough this mellow we find the inner purport of &aurangas bhakta-vatsala feature, is affectionate submission to the love of is devotees. 'hus Sri ,dvaita says+ 5erse 91 nataraja siroratnam sri nagara siromanim asesa rasika sphujjanmauli bhusana bhusanam 9Sri &auranga is the 3rown%*ewel amongst all dancers, the 3rown%*ewel amongst all nagaras ?including Sri $rsna@ and thus the Frnament of ornaments amongst all rasika persons.9 More then a mahajana, and more than the 5ord#s eternal associate, Srila ,dvaita ,carya is saksat isvara, the 5ord imself. 'hus is merciful siddhantas can benefit all. owever, in is 9$rsna !ha*anamrta9, Srila "arahari Sara(ara elaborates to reveal more about Sri &auranga#s magnificence+ pasya pasya, niguratiniguram nirupyate sakalendriyaih sabdhana mahantah parammmangalam rahasyam srnvahtu sri Krsnacaitanyadevah prakataparamananda-vigrahohapi sarvavatara sarbhutohapi sarvavatarasakti prakasasamarthohapi sarvavatarabyaktaye dasadasisangavanapi radhasangaprakasam na krtavan asya sarvavatarprakasatvam sarvaireva niscitamaste
6

tathapi rahasyamekam juktameva sruyatam sri Krsnah sakalvilasa vinoda-rupa kaisoradi guna sampannohapi strinam vanacarinam mohanam cakara; kimetat? sri Krsnacaitanyastu kaupinadhari dinavesah sannyasasramalankrto hatyantadurdantam balavantam mahavrsabhaduradurudam dhyatmavadinam vishayandham kujoginam jadamjasara madyapam papam candalam javanam murkam kulastriyanca premasindhou patayamasa; anandena vaikunthopari stapaya masa kevalam premadharayaiva sarvesamasayam sodhittavan asurabhanca curnitavan kimanyadva bahu bavtavyam ? purusan eva prakrtibhavam ninaya sri Krsnacaitanya bhavakala mohitah srigadadhara pandita bhava darsansamudita gopiganabhava vedantinohapi vimayinhapi prakrtibhavairnanrtuh Sri Krsna :ha"anamrta 18-// 95oo(, loo( now : shall disclose the most secret of all secrets7 So listen carefully to this confidential tattva for it can deliver supreme auspiciousness to even the self%controlled mahajanas+ Sri $rsna 3aitanya 0eva is imself a paramananda murati, the 4ssence of all Avataras, and completely capable of displaying every divine potency of any form of 'hagavan along with the servants or maidservants of such 'hagavat svarupas. Aet e didn#t disclose about is affairs with +adha ?&adadhara@. 'his is confirmed by the learned who (now about the bhavas and the tattvas concerning all Avataras. !ut nevertheless, please listen to a logically proven mystery+ Sri $rsna dispays is vilasa ?lovema(ing@, vinoda rupa ?enticing bodily features@ and all of is youthful <ualities to attract the Vraja gopis into the forest and what can be said of this= !ut Sri $rsna 3aitanya, wearing a kaupina and mendicant sannyasi dress, ta(es greater pleasure in converting the most rebellious, stubborn, bull%headed spiritualists, blind en*oyers, pseudo yogis, materialists, thousands of drun(ards, sinful meateaters, Muslims, the illiterate, as well as the chaste young girls, to drown them all in a prema samudra and send them beyond Vai(untha#s highest regions to is supreme abode, &olo(a. Fnly with Eprema& did e purify the hearts of all, after grinding their demoniac natures to dust7 ,nd moreover, e converted males into conceiving themselves as females. >hen Sri $rsna 3aitanya became decorated with the ornaments of bhava, and when the moods of the Vraja-gopis bhavas overwhelmed im, upon seeing the bhavas of Srila &adadhara 6andita then e converted every Vedantist and gross materialists to dance in the mood of a woman79 Sri $rsna !ha*anamrta C.%->hen comparing Srila ,dvaita#s stavas with these passages from "arahari, a remar(able conclusion can be drawn+ Fwing to is parama karuna, Sriman Mahaprabhu wishes to reciprocate with is higly e2alted Ekanta bhava& with not only is intimate devotees !ut with every type of grossly fallen jiva in this age of %ali7
1

:ndeed, as "arahari#s list concludes by mentioning Ekula strian!a#, meaning the Nadiya nagaris, he is saying that all of the forementioned sinners or non%devotees were promoted to &olo(a "avadvipa with Enagari prema& to dance besides Sri &auranga in the form of a woman. Sri Nagara siromani, nagara is a playboy, or an unchaste man who loves to indulge in sensuous pleasure amongst many female companions. ,nd, in our world, such characterless men are hardly praiseworthy. +ather, they become notorious and condemned in society. So now a good <uestion arises+ 9>hy would Svayam 'hagavan, the very emblem of dharma behaviour=9 imself, stoop to perform such is advent is

'he answer we can imbibe from the !hagavatam, -I%GG%G6, where the main reason for stated+ anugrahaya bhaktanam manusam dehamasrita bhajate tadrsih krida jah srutva tatparobhavet

9:n order to give mercy to the devotees, Sri !hagavan assumes a human form to enact loving pastimes with them. 'hus, those hearing about is activities may also become attracted to the 5ord.9 &iving mercy, or love, to is bhaktas is !hagavan#s sole activity and foremost source of pleasure. ence, introspective devotees can begin to appreciate why Svayam !hagavan becomes a nagara. )or how many bhaktas would receive is greatest gift madhura prema bhakti ( if e were to display the role of an ideal, chaste husband= 'rue, for those who want to admire the 5ord as such, e certanly provides them the upportunity in +ama ,vatara. )or 5ord +amacandra never cast is amorous glances upon anyone accept Sita. Aet what about the forest sages who saw +ama#s immaculate beauty= ,fter coveting the chance to serve im as a consort, they had to wait until is advent as Sri $rsna. ,nd only then could they fulfill their cherished ambition by becoming gopis. ence, $rsna is more merciful then +ama. !ut our Sri &auranga is far more magnanimous than even Sri $rsna, because as Sri "arahari states, in his previous 9$rsna bha*anamrta 9 passages, he awards is most intimate prema rasa to all. nnd therefore, Srila ,dvaita ,carya Js declaring Sriman Mahaprabhu as the greatest nagara is *ustly befitting. -@ Sri "agara siromani+ &auranga, the greatest nagara ?flirtatious romantic@ ;hat 4oes 3his :ook 4is#uss< In the Introdu#tion, =ages

,fter revealing Mahaprabhu#s svarupa as the form of Rasaraja and Mahabhava combined, three approaches to &aura upasana- are presented+ those of Vrndavana dasa, $rsnadasa $avira*a and 5ocana dasa. Fwing to 5ocana#s focus on &aura#s rasaraja feature, his 93aitanya Mangala9 is filled with madhurya. 5ocana#s birth signifies the fulfilment of "arahari Sara(ara#s desire to broadcast &auranga#s madhura pastimes with &adadhara- thus an e2cerpt of 'heir maharasa sankirtana from 93aitanya Mangala9 is inserted. !ut 5ocana#s 90hamali9 further reveals &auranga#s intimate, madhura "avadvipa lila&s. 'his leads into the topic of how &auranga#s male associates have female identities - the e2amples
.

of "arahari and &adadhara#s nagari svarupa&s are shown. Supporting evidence is presented from $avi(arnapura and sivananda Sena in conte2t with the holi pastime. 'hen 93aitanya 3aritamrta9 shows how &adadhara#s followers worship &auranga in madhura rasa. Svarupa 0amodara and +upa &osvami state that &adadhara is directly +adha. >ha=ter &ne, $ages

Since Sri $rsna and Sri &auranga are non%different, wouldn#t &auranga posses all of Sri $rsna#s <ualities= 42amples from 93aitanya 3aritamrta9, 90hamali9 and 93aitanya caritra Maha (avya9 show that, indeed, 'hey are !oth srngara rasa nayakas-. 'hen Sri &auranga Vastra harana lila and Rasa lila are described from Murari &upta#s 9%or!aC9 and "arahari 3a(ravarti#s 9Sri &aura carita cintamani.9 'he latter discloses the wish to follow in the "adiya nagaris# footsteps, and "arottama dasa 'ha(ura reveals a similar mood. &ovinda dasa#s padavali) contributes to the nagari school, but their history lin( Srinivasa ,carya and Kiva &osvami as supporters. 'hen "arahari 3a(ravarti shows how it is impossible for $rsna to give up is rasika nature when becoming &aura. 5ocana dasa tells that +adhi(a and the gopis won#t allow $rsna to escape &o(ula alone, lest they will reveal all of the scandals that e left behind. So after ta(ing on is new dis<uise, can &auranga be called a sadhu= 'he nagaris& purva raga for &auranga is related in conte2t with Srimati +adharani#s svapna vilasa+ She has an astonishing dream sees &aura rasa raja and races to embrace im, even while lying in Sri $rsna#s tender embrace7 5ocana presents some e2amples of the nagaris purva raga from 90hamali9, and goes on to describe his star( fascination 95et them call me gaura kalankini79 ?scandaliDed by &aura@ he emplores. 5ocana even tells why no%one should fear such disgrace. 'hen Vasudeva &hosa and &ovinda &hosa describe their attraction for &auranga in nagari bhava, followed by Murari &upta#s testimony. !ecause Murari#s 9%or!a9 serves as the basis for Vrndavana dasa, $rsna dasa and 5ocana dasa#s biographies of Sri 3aitanya, and because he also relates about the nagari bhava of -@ srngara rasa nayakas+ ,morous heros C@ kor!a: diary G@ padavali+ !engali poetry in rhyming metre "adiya, this proves that such mellows with the 5ord e2isted from the very beginning. >hy is "adiya nagari bhava controversial= 'his chapter tell why many Vaisnavas fail to understand and even ta(e to criticiDing such e2alted mellows. !ecause Sri 3aitanya is Svayam 'hagavan, is prema rasa e2changes with is eternal, svarupa sakti counterparts are natural. !ut ta(ing the role of a E $uga Avatara#, e preaches religion in the dress of a sadhu as well. 'hus after e2plaining the inner purport of Vrndavan dasa#s warning not to openly address Sriman Mahaprabhu as a Enagara#, the utility of both is $uga Avatara and Svayam 'hagavan features is discussed. More evidence supporting &auranga#s rasika nature is presented from Sri "arahari 3aravarti, Sri 6rabodananda Sarasvati, Sri ,cyutananda and Sri Madhavi dasi, Sri Si(hi Mahiti#s sister. >ha=ter )our, $ages

,s Sri $rsna is the source of all avataras, +adha is the source of every consort of is limitless 'hagavata manifestations* !ut "arahari Sara(ara states that &adadhara is directly +adha. 'hen he goes on to say that &adadhara and &auranga#s yugala milana is real *ust as +adha $rsna#s. "ayanananda Misra#s padavali tells about the mood in which &adadhara#s followers worship &aura. Mahaprabhu#s sankirtana Maha Rasa tattva is related from 3aitanya 3aritamrta. 'hen +upa &osvami#s intimate 9Stava mala9 sloka is discussed in con*unction with "ayanananda#s padavali. >ha=ter )i%e, $ages
/

-I

'his chapter deals with &aurasundara#s intimate sambhoga affairs. 42amples from 90hamali9 tell about the nagaris& svapna sambhoga, con*ugal e2changes during dreams. 9;**vala nilamani9 reveals how such dreams are vivid as wa(ing e2periences. Vasudeva &hosa and "arahari 3a(ravarti tell of their svapna sambhoga e2periences. radhurabhava sambhoga is discussed, followed by &auranga#s nari vesa milana with the nagaris. &auranga#s prema vilasa vivarta bhava shows how e can even assume the kanta role as is bhaktas reciprocate in kanta bhava. &adadhara and &auranga#s prema vilasa vivarta lila illustrates. &ora nama madhuri is e2plained. >ha=ter Si?, $ages

, comparison of +upanuga devotion and "adiya nagari bhava. +upanuga Vaisnavism essentially means Radha dasya seva. owever, +adha is &adadhara in &aura lila. ence +upa &osvami follows &adadhara- 5ocana#s padavali affirms and Svarupa 0amodara gives more evidence. !ecause the Si2 &osvamis are &auranga#s Jsan!arita sakti# it is only natural that they follow &auranga#s Emula sakti# 6andita &adadhara. Sanatana &osvami states that &adadhara#s wealth lies in nagari prema. Sri +upa tells about the special Eprema ratna# that &auranga is distributing. "ayananda Misra confirms that this is nagari prema. ow did the &osvamis secretely reveal &auranga#s intimate affairs= +upa &osvami supports &auranga#s rasaraja feature. Sri 3aitanya instructed the rasaraja doctrine to Vamsivadana. Sri 3aitanya is non%different from +asara*a Sri $rsna. , commentary of +upa#sEanarpito !arim# sloka along with 5ocana#s padavali. Some asta kala lila tattva. 'he essays (ey note. >ha=ter Se%en, $ages

More supporing versions from &audiya ,carya s such as Kagannatha dasa !aba*i, !ha(tivinoda 'ha(ura, and Siddha 3aitanya dasa !aba*i. Fne amusing encounter between 3aitanya dasa !aba and !hagavan dasa !aba. >ha=ter !ight, $ages

Sri "ityananda 6rabhu as a nagara and as a nagari. , closer loo( into Srila Vrndavana dasa 'ha(ura#s intimate siddhantas found in 93aitanya !hagavata.9Visnupriya#s kaAdita bhava.

Introdu#tion tabe hasi tare prahbu dekhaila svarupa rasa-raja, mahabhava dui ekarupa 3aitanya caritamrta, Madhya . 9'hen 3aitanya Mahaprabhu smiled and showed +amananda +aya is svarupa 'he form of +asara*a and Mahabhava combined79

-I

--

'hus our &auranga is revealed e is $rsna, the rasaraja amongst the Vra*a%gopis, plus Mahabhava Svarupini +adha, combined in one form. Volumes Fne and 'wo - have already dealt with &auranga#s +adha bhava aspect at length- so now a study of is rasaraja trait begins. ,lthough many biographers have written about 3aitanya Mahaprahu#s lila, the wor(s of Vrndavana dasa, $rsna dasa and 5ocana dasa are the foremost. :n 93aitanya !hagavata9, Vrndavana dasa 'ha(ura mostly depicts &auranga in is J'hagavata# feature ?as being the supreme 5ord@ - in 93aitanya 3aritamrta9, $rsna dasa $avira*a#s &auranga is the E+adha bhava# Nila!ala vihari of Svarupa 0amodara, +aya +amananda, +upa and Sanatana- yet in 93aitanya Mangala9, 5ocana dasa 'ha(ura#s E&ora# is &adadhara and "arahari#s hrdaya vallabhaC, rasaraja. 'hus each author depicts a different mood of Sri 3aitanya which are relishable and parama upasya ?supremely worshipable@. Aet in Sri 5ocanana#s Rasaraja &ora we find a special madhurya. 'he following storyG shows an e2ample why+ 5ocana dasa was Sri "arahari Sar(ara#s disciple, and under his direction he wrote 93aitanya Mangala9 in the secluded place (nown as $o grama. ;pon finishing the tas(, he returned to the feet of his guru at Sri(handa. !ut as "arahari read locana#s manuscript, e said+ 9Vrndavana dasa 'ha(ura has already written a biography about Sri 3aitanya called 93aitanya Mangala9. So if you want to distribute your boo(, you should go on and ta(e his permission first.9 'hus 5ocana went to see Vrndavana dasa and presented his writing after informing him about his Gurudeva&s order. !ut as Vrndavana dasa read 5ocana#s manuscript, he came to the following lines and fainted in the ecstasy of prema+ abinna caitanya se hakura avadhuta sri nityananda vanda rohinika suta 9: offer my pranamas to 'ha(ura "ityananda nvadhuta, >ho is non%different from Sri 3aitanya, and >ho was previously (nown as the son of +ohini.9 ;pon regaining consciousness, Vrndavana dasa said+ 95ocana, by Sri "arahari#s grace you have e2actly understood the position of 5ord "ityananda for indeed, is body is non%different from Sri 3aitanya#s. )rom today onward your boo( shall be celebrated as 93aitanya Mangala9, and mine will be called 93aitanya !hagavata.9 -@ Volumes Fne and 'wo + 9>hy did 3aitanya Mahaprabhu come, and what did e come to give=9 C@ hrdaya vallabha+ heart#s beloved G@ Story+ ta(en from 9Sri(hander pra!ina Vaisnava9 ?'he ,ncient Vaisnavas of Sri(handa@ by Sri &aura gunananda 'ha(ura ?published in -/-I@ ,t the time of this incident, Vrndavana dasa#s boo( had already gained vast acclaim amongst the Vrndavana Vaisnava community under the name of 93aitanya Mangala9. ,nd hence, $rsna dasa $avira*a refers to it as such in his 3aitanya 3aritamrta. !it owing to 5ocana#s describing &aura% "ityananda as being non different, "ityananda prana, Sri Vrndavana dasa, couldn#t hold unto his patience for showing gratitude. 'hus he wrote a personal declaration for the Vrndavana Vaisnavas which stated+

--

-C

9My boo( describes Sri &auranga#s 'hagavata feature, whereas Sri 5ocana dasa#s describes about is madhurya. So henceforeward my boo( should be called 93aitanya !hagavata9, and his should be (nown as 93aitanya Mangala.9 ,nd thus it came to be. ere is a sample of 3aitanya Mangala#s madhurya. angera chataya jena dinapara pradipa hena tahe lila rasera vilasa koti kusuma dhanu jiniya vinoda tanu tahe kare premera vikasa kamini mohana vesa herite bhulila desa madana vedana heri paya ki diba upama tara karuna vigraha sara hena rupa mora gora raya 9&auranga effulgent limbs daDDle li(e the sun ,,, and herein we find is rasa vilasa ?con*ugal pastimes@. is bodily splendor defeats millions of 3upids weilding their flower bows ,,, and herein e displays is prema. is dress is kamini mohana ?alluring to every pretty, young girl of "adiya@ for they forget everything else when viewing im7 'hus cupid pierces their hearts and binds them to is lotus feet. So who can compare with &ora +aya= is beautiful form is the essence of all karuna.9 Sri Narahari Sarakaras 2onging 5ocana dasa 'ha(ura#s birth signifies the fulfillment of Sri "arahari#s ambition to broadcast &aura and &adadhara#s madhura lilas. "arahari#s following pada relates+ gaura lila darasane vancha bara haya mane bhasaya likhiya kichu rakhi mui ati adhama likhite na jani krama kemana koriya taha likhi gaura gadadhara lila adraba karaye sililaa kara sadhya koraye varnana sarada likhena jadi nirantara nirabadi kahe sadasiva pancanana e granta likhibe je ekhana janme nai se janmite vilamba ache bahu bhasate racana bale bhujibe loka sakale kabe vancha puraibe pahu kichu kichu pada likhi jadi iha keha dekhe prakasa karaye prabhu lila narahari pabe sukha ghucibe manera dukha granthagane darabibe sila 9:n seeing &auranga#s lila, a great han(ering awa(ens to note down some of these events. !ut haya7 : am very fallen, and : don#t (now the means to write them- so how will this great tas( become accomplished= &aura and &adadhara#s lila can melt the stones yet who can narrate them= :f &oddess Sarasvati as the five%faced Sada siva unceasingly dictates still these lilas would remain unsatiated7 aya7 'he fit person to write hasn#t ta(en birth ,,, and still a long time awaits7 Fh when will &aura and &adadhara#s pastimes become narrated for the people= Fh when will 3aitanya Mahaprabhu fulfill my desire=
-C

-G

Meanwhile, : shall write a few padas- to broadcast is lila; 'hus my melancholy will van<uish. )or seeing the stone%li(e hearts of my readers melting "arahari will become very happy.9 'his sample from 93aitanya Mangala9 shows how 5ocana wrote to fulfill his gurudeva&s ambition+ srivasera ghare nace rasa vinodiya gaura dehe syama tanu dekhe bhaktagana gadadhara radha-rupa haila takhana madhumati narahari haila sei kale dekhiya Vaisnava saba hari hari bole vrndavana prakasa haila sei stane go gopi gopala sange sacira nandane purbe sakha sakhigana je rupa achila rasa asvadane prahbu sange bhakta haila abhinava kamadeva sri raghunandana aprakrta madana boliya je ganana tara saba purba deha dhari prahbu beri nace dekhi anya avatara sangi saba kade navadvipa udaya korila vraja-cande khone gaura lila gadadhara kori sange khone syama lila radha rasa rasa range camatkara lila dekhi saba bhaktagana hari hari jaya bole ghane ghana 9Rasa vinodiyaC &auracanda dances at Srivasa#s house ,,, but as the bhaktas see &aurasundara turning into syamasundara &adadhara becomes +adha7 'hen "arahari becomes Madhumati sakhi ,,, and all of the cows, the gopas and the gopis all *oin to relish mellows with Sri Sacinandana *ust as they did previousely in Vra*a. Sri +aghunandana becomes the ever%youthful %amadeva, Vrndavana#s transcendental cupid. 'hus everyone ta(es up their Vrndavana svarupas to dance around Mahaprabhu. ,ho7 'he associates of other Avataras will cry to see Vrndavana#s candaG rising in "avadvipa7 'hus &auranga performs pastimes with &adadhara ,,, but sometimes 'hey become +adha and syama to enoy the Rasa lila rangaH. Seeing such !amatkara pastimes, the bhaktas loudly cry, E+ari, +ari7# and E,aya, ,aya7#9 -@ padas+ poetry written in rhying !engali meter C@ rasa vinodiya+ 'he 4nchanter of the Rasa lila ?here, &aura ta(es on is rasa-raja feature@ G@Vrndavana#s canda+ Sri $rsna the moon of Vra*a. H@ Rasa lila ranga+ the Rasa lila amusement Sri 2o#anas !hamali Goes dee=er -amatkara means amaDing or fantastic, and 5ocana dasa labels &aura and &adadhara#s sankirtana pastimes as simply !amatkara. )or even 3aitanya !hagavata and 3aitanya 3aritamrta don#t describe that +adha, $rsna and all of 'heir gopi associates directly manifest in Sriman Mahaprabhu#s pastimes. !ut 5ocana#s pen goes on. ,fter narrating 93aitanya Mangala9, he presents an even deeper loo( into Sriman &aurasundara#s !amatkara "adiya vihara in 90hamali9. ere 5ocana#s &ora is a %amera kora-, a Rupera nagaraC, a Rasa sagara, a -itta !oraG, ManoharaH and the Nava kisora natabara5 whose stealthy glances steal "adiya nagaris& hearts7 !ut there is a mystery about the nagaris madhura bhava with &auranga that needs clarification+ 'hese bhavas that Sri 5ocana and other &audiya Maha*anas describe are shared amongst &auranga#s male assoiates who have subtle nagari forms within.
-G

-H

Gaurangas Asso#iates 'a%e )emale Identities ,lthough the Vra*a gopis have assumed male forms in following $rsna#s transformation to &ora still they cannot forget their previous madhura tie. +ather, with &ora, these loving pastimes continue to unfold with newer and newer relish. 'hus their internal nagari bhava is their overriding service mood to him. 3oncerning "arahari Sara(ara and this tattva, Sri &aura gunananda 'ha(ura of Sri(handa e2plains as follows+ 9Sri "arahari Sara(ara 'ha(ura serves and gives pleasure to his prana Gauranga in basically three ways+ -@ in his parsada svarupa as "arahari, C@ in his previous nitya-siddha svarupa as Madhumati Sa(hi, and G@ in his nagari svarupa* :n this connection the last bhava, ?the nagari bhava or kanta bhava@ is his internal mood- the other two moods are occassional. Sriman Mahaprabhu prakata svarupa ?visible form@ is the visaya ?affectionat ob*ect@ of "arahari#s kanta bhava. ence this kanta bhava forms his stayi bhava ?permanent mellow@ and the other rasas of dasya, sakhya and vatsalya bhava are contained within it.9 Sri(handa#s pracina Vaisnavas Gadadhara $anditas Nagari S%aru=a :n &aura ganodesa dipi(a, Srila $avi(arnapura confirms this siddhanta in conte2t with &adadhara 6andita as follows+ sri radha prema-rupa ja pura vrndavanesvari sa sri gadadharo gauravallabhah panditakhyah pura vrndavane laksmih syamasundara ballabha sadya gaura prema laksmih sri gadadhara pandita 9She >ho was previously Vrndavanesvari +adha is now Sri &auranga ballabha, -@ %amera kora+ reservoir of divine kama C@ Rupera nagara+ , andsome flirtatious romantic G@ -itta !ora+ mind thief H@ Manohara+ Simply enchanting 5@ Nava kisora natabara+ dressed li(e an attractive, youthful dancer &adadhara 6andita. ,nd She >ho was Vra*a 5a(smi +adha, Sri syamasundara vallabha, now appears as Sri &auranga#s prema 5a(smi &adadhara.9 'hus &adadhara 6andita &osvami ?although being directly Vrndavanesvari +adha@ has a female "avadvipa svarupa referred to as &auranga#s prema vallabha, or prema 5a(smi. Sri Si%ananda Senas >ontri0ution "ow one might as(, 9 ow does Srila $avi(arnapura (now about Sri &adadhara#s nagari svarupa, and why would he write about such mellows=9 'he answer is that he imbibed this intimate service mood from his father, sivananda Sena - and his writing about such bhavas simply represents the overall trend of many of &auranga#s eternal associates. )or e2ample, sivananda, who was previously 3ampa(alata Sa(hi in Vra*a ?one of +adha#s asta sakhis@,
-H

-5

now worships Vrndavana#s yugala kisora in the form of &adadhara and &auranga. e2plains about this+ jaya jaya pandita gosai jara krpabale se caitanya guna gai hena se gauracandre jahara piriti gadadhara prananatha jahe lage khyati gauragata prana prema ke bujhite pare khetra vasa Krsna seva jara lagi chare gadaira gauranga gaurangera gadadhara sri rama janaki jena eka kalebara jena eka prana radha vrndavana candra tena gaura gadadhara prema taranga kahe sivananda pahu jara anurage syama tanu gauranga haiya prema mage

is following pada

9,ll glories, all glories to &adadhara 6andit by >hose mercy we can sing Sri 3aitanya#s glories. is love is such that &auranga is celebrated as E&adadhara#s prananatha# ?the 5ord of &adadhara@. ,ho7 ,s &adadhara#s life is &auranga, is prema is unfathomable for e renounced his ksetra sannyasa- and &opinatha#s seva smply for &aura. 'hus &auranga belongs to im, and e belongs to &aura as +ama and Sita are one body. ,nd *ust as +adha and Vrndavana candra are one life so do the waves of prema capsise from &aura and &adadhara#s lila* 'hus sivananda says+ E$rsna eagerly discards his syama body and becomes &auranga simply to beg for +adharani#s prema79 :n the +oli pastime, sivananda Sena elaborates about &aura and &adadhara#s madhura tie as follows+ holi khelata gaura kisora rasabati nari gadadhara kora sveda bindu mukhe pulaka sarira bhava bhore galatahi nayane nira vraja rasa gaota narahari sange mukunda murari vasu nacata range khene khene murchai pandita kora heraite sabacara bhave bhela bhora -@ ksetra sannyasa+ &adadhara#s vow to never leave Sri $setra ?Kagannatha 6uri@ nikunja mandire pahu kayala vithara bhume pori kahe kaho murali hamara kaha govardhana yamunaka kula kaha malati juthi campaka phula sivananda kahe pabu suni rasa vani jaha pahu gadadhara taha rasa khani 9&aura kisora plays +oli in the arms of the rasavati nari -, &adadhara. ,ho7 0rops of pespiiration cover 'heir faces, 'hey horripulate and tears flow from 'heir eyes due to intense bhava7 ,s &auranga sings abut Vrndavana#s mellows with "arahari Murari, Mu(unda and Vasudava &hosa dance in ecstacy7 !ut &auranga repeatedly faints falling in &adadhara#s lap7 ,nd seeing them the priya bhaktas swoon7 'hen comming to rest in a nikunja mandire, &auranga faints again after e2claiming+ Ewhere is My murali, the Aamuna and &ovardhana= ,nd where are Vrndavana#s malati, juthi and !ampaka flowers=# 'hus sivananda says, Elisten to my rasa vani C- with &aura and &adadhara we find a *ewel mine of divine mellows7#9
-5

-6

ere sivananda#s addressing gd as a Erasavati nari#?young rasika damsel@ is significant, for if he had not seen such form, and revealed about it, who would have (nown= Gadadharas )ollo*ers are a#tually female $rsna dasa $avira*a confirms about &adadhara#s rasavati nari svarupa by revealing that &adadhara#s followers have femala identities as well+ pa"ditera gana saba bhagavata dhanya prana vallabha sabhara sri Krsna caitanya >,>, Adi /1 9,ll of &adadhara#s followers are maha bhagavatas and very fortunate for their prana vallabha is Sri $rsna 3aitanya.9 Most of us will pass over this siddhanta without recognising its deep purport. !ut here the point to grasp is that only a woman adresses her beloved as Eprana vallabhaG# ,nd hence, we learn that Srila &adadhara#s followers have a hidden female svarupa within their male forms. So &aura is their prana vallabha *ust as $rsna is gopi jana vallabha, the beloved of the gopis. >hen pondering this topic, we see that &aura and $rsna#s pastimes unfold in a parallel pattern + for a Sri +adhi(a is the source of all $rsna#s kantas the "adiya nagaris e2pand from &adadhara. ,nd this (ey 3aitanya 3aritamrta verse presents the evidence. Aet, Sri Sanatana &osvami comes o the same conclusion in his 9Sri +adha &adadhara asta(am9, verse C+ navarasacalacittam nagaripremavittvam pramadarasikabhupam naumi radhasvarupam 9: offer my prostated obeisances unto Srila +adha%&adadhara >hose heart is always restless to relish the ever%new e2pressions of madhura rasa. e is the 5ord of all rasika en*oyers whose wealt lies in nagari prema*9 -@ rasavati nari+ a young, rasika damsel C@ rasa vani+ rasa-filled message G@ prana vallabha+ dearly beloved ?masculine@ Srila &adadhara#s disciple, Sri Aadunatha dasa, also states+ panditasya ganah sarve srngarartha kalevarah 9,ll of &adadhara 6andita#s followers have female forms meant for e2changing srngara rasa ?con*ugal pastimes@.9 &adadhara 6andita &osvamira sa(ha%nirnayamrta :n his E%or!a& ?diary@, Sri Svarupa 0amodara says+ avanisurabarah sri panditakhyo jatindrah sa halu bhavati radha sri gauravatare narahari sarkarasyapi damodarasya prabhu nija dayitanam tacca saram matam me
-6

-1

9'here is no doubt, Sri &aura &osvami, the greatest of the brahminas, (nown by the title of Epandita&, is +adha in &auranga#s pastimes. 'his is the conclusion of Sri "arahari Sara(ara, Mahaprabhu#s other priya bhaktas, and myself.9 Sri +upa &osvami says+ vrndavanesvari radha premabhakti pradayini kalou srigauradayitah srigadadharapanditah #rila $adha-%adadharadasakam, sloka & 9Vrndavanesvari +adha, the !estower of prema bhakti, now appears in %ali yuga as Sri &auranga#s confidante, Srila &adadhara 6andita.9

>ha=ter &ne Krsna and Gauranga are Non-different ,ll of the Mahajanas certainly affirm+ vrajendra nandana jei sacaryai suta haila sei

9Vra*endra nandana Sri $rsna is saci nandana Sri &auranga.9 !ut when investigating closer, we find that &auranga#s <ualities even e2ceed $rsna#s, owing to is beeing the form of +adha and $rsna combined. ence, Srila $avira*a &osvami adressess &auranga as the Eparatattva sima-#, the highest limit of Supreme transcendence. ,nd he also states + na caitanyat $rsna**agati paratattvam paramiha 3.3. ,di 9'here is no higher feature of Sri $rsna#s divinity than that found in Sri 3aitanya#s*9 So now a <uestion arises+ 9Since &auranga is $rsna#s highest feature, wouldn#t all of $rsna#s best <ualities be found in &auranga as well= )or e2ample, as $rsna is deeply attached to the Vra*a gopis and loves to enoy parakiya rasa e2changes with them, is &auranga able to display smilar pastimes=9 :f the answer were 9"o9, then certainly we would have to say that the $avira*a is mista(en % Sri $rsna must be the paratattva sima, and not &aura- for when considering the splendour of Sri $rsna#s Rasa dance with the gopis, what could match this= !ut why should we doubt the $avira*a#s version= +ather, let us now begin to e2amine the sastri! evidence which reveals that, li(e Sri $rsna, Sri &auranga has the same rasika nature. :n 3aitanya 3aritamrta#s 3hapter H, Srila $avira*a &osvami presents the verses which form the basis of our discussion+
-1

-.

sri Krsna caitanya gosai vrajendra kumara rasamaya murti Krsna saksat srngara sei rasa asvadite kaila avatara anusange kaila saba rasera pracara 9Sri $rsna 3aitanya &osai is that selfsame Rasamaya 'hagavan, Vra*endra "andana, -@ paratattva sima+ ataeve caitanya gosai para tattva sima tare khirodasayi kahi ki tara mahima 3.3. ,di%C 9'herefore 3aitanya &osai is the aratattva sima- and since even $sirodasayi Visnu praises is glories what more can be said.9 >ha=ter &ne >ho is srngara rasa ?con*ugal love@ personified. ,nd e has specifically come to relish srngara rasa. Aet, in so doing, e promotes all of the other rasas too.9 'hus &auranga and $rsna are both srngara rasamaya ?'he 4mbodiment of erotic pleasure@. ,nd moreover, &auranga#s advent is specifically lin(ed with is tasting srngara rasa, as $rsna did wih the gopis* 'o substantiate, $rsna dasa ne2t <uotes &ita &ovindam+ visvesamanuranjanena janayannandam indibara sreni syamala komalairupanayannangair anangotsavam scacchandam vrajasundari bhirabhitah pratyangal ingitah srngarah sakhi murtimaniva madhou mughdho harih kridati 9Fh sakhi, *ust loo(7 :n -aitra, the month of madhu ?spring@, our Sri $rsna appears *ust li(e a srngara rasa murti. >ith is soft, blue lotus hued body e is inaugurating ,nanga#s utsava- amongst the shapely Vra*a sundaris as they embrace all of is limbs79 'hen Srila $avira*a &osvami returns to &auranga to e<uate im with $rsna+ sri Krsna caitanya gosai rasere sadana asese visese kaila rasa asvadana >,>, Adi @ 9Sri $rsna 3aitanya is an ,bode of rasa for e2tensively and unlimitedly.9 is rasa asvadana ?relishing mellows@ e2tends

'his covered language hints ar every form of rasa imaginable. $rsna dasa $avira*a is very clever. ,fter e<uating &aura with $rsna, he doesn#t directly say how srngara rasamaya &auranga en*oys srngara rasa- for this would e2pose im to the ignorant scrutiny of the masses. +ather, he says + Easese visese# ?in all sorts of unlimited ways@ so that only the rasika bhaktas can understand the matter. Fr, to put it in his own words+ e saba siddhanta gura kahite na juyaya na kahile keha ihara anta nahi paya ataeva kahi kichu koriya nigura bujhibe rasika bhakta na bujhibe mura hrdaya dharaye je saitanya nityananda
-.

-/

e saba siddhanta sei paibe ananda >,>, Adi @ 9,ll of these siddhantas are very confidential and should not be discussed openly. Aet if : don#t tell about them, no%one will understand. 'herefor : am writing these intimate topics in such a way that the rasikasC can understand, and the unintelligent won#t. 'hose holding 3aitanya and "ityananda in their hearts will be happy to hear these siddhantas*9 ,lthough he hints about it throughout 3aitanya 3aritamrta, $rsna dasa $avira*a wasn#t deputed to reveal Sri &auranga#s rasaraja trait- this tas( he has saved for -@ ,nanga#s utsava+ rati keli C@ rasikas+ 3hose bent on understanding and relishing the 5ord#s intimate, loving e2changes with devotees. >ha=ter &ne 5ocana dasa and others. >hen re<uested by the Vrndavana Vaisnava community to write about 3aitanya Mahaprabhu#s concluding pastimes, $rsna dasa predominantly depicts &auranga#s +adha bhava feature in a lila filled with viraha feelings for $rsna. :ndeed, this version is !amatkara and rasa purna ?fascinating and filled with rasa@. Aet it is noteworthy that these descriptions center on only half of Sriman Mahaprabhu#s rasaraja . mahabava personality. Aet, Srila $avira*a &osvami does begin his prabatika ?early morning@ &aura kirtana pada saying+ smaraye nava gauracandra nagara vanayari 9Kust remember youthful &auracandra, Nagara vanamali.9 ,nd in 3aitanya 3aritamrta#s -1th. 3hapter, he tells about &auranga#s sambhoga as follows. vidya saundarya sadhesa sambhoga nrtya kirtanaih prema nama pradannais ca gaura divyati jauvane 9:n is youth, Sri &auranga#s (nowledge, beauty, fine dress, sambhoga, dancing and sankirtana all flourish in the distribution of prema and the +ari nama.9 'he term Esambhoga#means &auranga#s con*ugal affairs, which are a prime feature of is youthful pastimes. ,lthough 3aitanya 3aritamrta only slightly touches on &auranga#s mid%kaisora sambhoga activities here, 5ocana dasa depicts these scenes with colorful detail. ere is a sample from 0hamali+ amara gauranga nace hema kironiya hemera gache premera rasa parche cuyaiya tara thamka kakala baka madhura makha hasi rupa dekhite jati kula harai harai vasi adhuta natera thama gora angera chata rupa dekhite hura pareche nava jubatira ghata mana maila kula dubila baiche premera bana locana bale madana bhole ara ke ache ana
-/

is

CI

9,s my &auranga dances, is prema rasa seeps from is brilliant, golden effulgence li(e nectar% honey ooDing from a golden desire tree. nha7 >hat a form7 is hips are coc(ed croo(ed, while a sweet, spreading smile adornes is face. 'hus seeing is mohana rupa ?enticing form@ my familly attachment is going ,,, going ,,, gone7 >hat amaDing dancing poses and bodily effulgence7 'he young kisori girls of "adiya are simply stunned7 ,,, 'heir minds are churning ,,, their family ties sin(ing ,,, and 3upid#s arrows sail7 5ocana says, since even 3upid is spellbound who can remain sober=9 Sri Ka%ikarna=uras >ontri0ution Sri &aura kisora#s madhura pastimes at Srivasa ,ngana thus unfold in Srila $avi(arnapura#s 93aitanya carita Maha(avya9, 3hapter 6+ 9,ho7 &aurasundara begins is madhura dancing7 >earing golden rings on is fingers and *eweled armlets and bracelets on is lovely arms, is beauty forms an >ha=ter &ne indescribable picture. 4ven 3upid is enchanted. is palms loo( li(e blooming red lotus, is bodily effulgence streams out in waves and is broad chest appears li(e the golden pea( of Mount Sumeru. &aurasundara#s lips are very sweet to behold, is sil(en dhoti hangs in elegant folds, and a chain of ringing bells dangle over is nitamba-. ,ho e is the 3rown%*ewel of all dancers. 'hus vilasa rasika &auracandra stimulates the moods of madhura rasa, as if e were Ananga ?3upid@ himself. nha7 'he sound of mrdangas, karatalas, *ingling an(le bells and enchanting singing mi2es along with the high pitched ulu ulu vibrations emanating from the lotus lips of young brahmina women. ,nd now as they ecstatically watch Mahaprabhu#s dancing, their bodies erupt with goose bumps. 'hus ta(ing up an(le bells in their hands, they ring them and sing madhura songs with their alluring, kokila%li(e voices.9 Srila $avi(arnapura goes on+ aslosaih katica tathaisa kanscidanya nacumbaistadanca carbbitaistathanyan iteyavam paramkrpanidhih sutrptan cakre sadvilasitalilaya mahatya 'hapter (, verse )* 9:n showing is magnficence, the Kewel of mercy, Sri &aurasundara, embraced some bhaktas, (issed others and then transferred is chewed pan into their mouths. 'hus e performed lila vihara to is full satisfactionC79 Sri Gaurangas vastra harana lila :n his 9kor!a9, 6art C, 3hapter -I, Sri Murari &upta further relates about such affairs+ 3ranslation+ 9'hen those brahmina Vaisnavas went to bathe in the Suradhuni &anga, and after finishing their +ari puja, they returned to &auranga#s house at dus(. &aurahari danced, sang and performed vihara with them. ,nd as e embraced them with is lotus%arms, e began ecstatically rolling on the ground with them too7 ,ho7 Fverta(en by waves of ecstacy, &aurahari danced li(a a lion, and while holding Srivasa#s hands, e swiftly led him away. !ut bac( at the kirtana, aridasa and the other bhaktas became surprised and stunned when no longer seeing the 5ord7 So they began seaching, yet they could not find im. ;nderstanding their melancholy, the Supreme 6rabhu again returned in their midsts. 'hus the bhaktas eagerly surrounded Sriman Mahaprabhu- yet seeing im *ust li(e Vanamali Sri $rsna, they began to offer prayers in gopi bhava as follows+
CI

C-

EFh hey !hagavan Mahesvara ?siva@7 6lease bestow Aour mercy so that e ?&aura@ may become our Vallabha ?lover@.# 'hus understanding their minds, Sri $rsna 3aitanya began vastra harana ?stealing their clothes@, and similar related lilas. 5ater, during mid%evening on another occassion, the bhaktas Rasa data ?!estower of loving mellows@, Rasika Sriman Mahaprabhu ?using is wo lotus hands@ stole their clothes rendering them na(ed7 ,nd after performing krida G with them, the 5ord returned their garments. 'hen these -@ nitamba+ buttoc(s C@ )ull satisfaction+ Such e2changes are only possible with the nagari svarupas of these bhaktas. G@ Such krida ?love ma(ing@ is only possible with the unseen nagari svarupas of theses bhaktas. >ha=ter &ne bhaktas redressed en en*oyed vihara with Mahaprabhu in paramananda7 +eturning to is +ari nama sankirtana, Sri &auracandra fully purified their hearts with the rays of is maha ujjvala golden effulgence79 Srila $avi(arnapura also mentions this lila in his 93aitanya carita Maha $avya9. Gaurasundaras $asa Lila $rsna performed Vastra harana lila to assure the gopis- thus they learn that $rsna accepted their prayers e will become their rana vallabha ?hearts beloved@. 'hen Rasa lila follows. Similarly, &auranga performed vastra harana lila to offer is bhaktas the same assurance. So it isn#t surprising that "arahari 3a(ravarti describes &auranga#s Maha Rasa sankirtana pastimes in his 9&aura carita 3intamani9. yamuna puline rasa vilasadi je rupa korila syama sei rupa gora suradhuni tire rocila rasera dhama laja kula bhaya saba teyagiya nadiya nagari jata manorathe cari cale juthe juthe eraya kantaka sata praphulita haiya dhainu kahara pane na palati dekhi lohara pinjara haite jemana palaya navina pakhi jaiya turite nayana bhariya dehinu gaura raya jubati mandali majhe saje bhala ki diba upama taya nana jati jantra baje caridige sukhera nahika para gaoye madhura sura narigana barise amiya dhara o mukha kamala madhu pane mati mo punah nacinu sukhe narahari natha ta dekhi hasiya amare korila buke 9Kust as syamasundara en*oys Rasa vilasa and other pastimes near the Aamuna#s ban(s, Sri &ora#s Rasa dhama rests beside the Suradhuni &anga. 5ast night, many groups of "adiya nagaris renounced their shyness, chastity and fear as their &aura anuraga carried them over hundreds of obstacles. 'hey were *oyful as they secretly flew li(e young birds released from a cage. ,nd seeing &auranga +aya, their eyes became satiated with is darsana ananda. ,ho7 >ho can describe is beauy amidst these beautiful women= 'hen the nagaris surrounded &auranga and played many instruments with boundless pleasure. Meanwhile, the devis of heaven sweetly sang as nectar sprin(led from the s(y. So while repeatedly drin(ing the ino2icating madhu from &auranga#s lotus%face ?by (issing im@ : danced in *ubilation. 'hen "arahari#s 5ord, Sri &auranga, smiled and embraced me to is chest.9 $ur=ort+
C-

CC

'his madhura scene unfolds in Srivasa 'ha(ura#s flower gardens beside the pictures<ue &anga. 'he nagaris described here are &auranga#s male associates who have arrived at Srivasa ,ngana in the mood of abhisarika ramanis ?young, married girls who secretly fled home home to meet &auranga.@ ,s the sankirtana begins, it appears that a group of men are performing congregational chanting. !ut as the moods of Vrndavana overta(e &aurasundara and as e dances into the moonlit garden the devotees follow to assume their nagari svarupas. 'hus Maha sankirtana Rasa begins.

>ha=ter &ne Narahari >akra%artis +adhura bhava "arahari ?&hana syama@ 3a(ravarti is the grand%disciple of Visvanatha 3a(ravarti. $nowing wel the 6ost%3aitanya period of &audiya Vaisnava history, he has s(illfully documented this era in 9!ha(ti +atna(ara9. 'hus, as an e2perienced &aura bhakta initiated in Sri "arottama dasa 'ha(ura#s parampara, his siddhantas certainly match those of his previous masters. :n his asta kala gaura lila boo( entitled 9&aura carita 3intamani9, ?amongst nearly -5I other nagari padas@ he has revealed his heart#s firm resolution as follows+ nadiya nagariganera carane mati rohu mora jivane marane emana kakhana na dekhi na suni priya lagi saba tiyagiya amani gaura preme tanu gathita sabara ke bujhibe iha sakati kahara ei asa naraharira hiyaya ei sabara guna gaiye sadaya 9:n life or in death my mind rests at the lotus%feet of the "adiya nagaris. : have never seen such renounciation- for they <uic(ly forsa(e everything for their priya &auranga#s seva. 'heir bodies are molded from &aura prema- so who can estimate their sakti= 'hus "arahari always desires to sing their glories.9 Sri "arottama dasa 'ha(ura depicts a similar mood + kancana darpana varana sugora re bara vidhu jiniya bayana duti akhi nimitha murukha vara vidhi re na dile adhika nayana hari hari kene va janama haila mora kanaka mukura jini gora anga suvalani heriya na kene hailam bhora ajanulambita bhuja vanamala virajita malati kusuma suranga heri gora murati kata sata kulavati hanata madana taranga anukhana premabhare se ranga nayana jhore na jani ki jape niravadi visaye avesa mana na bhajinu se carana vanchita karila more vidhi nadiya nagari seha bhela vrajapuri priya gadadhara bama pasa mohe natha angikuru vanchakalapa taru kahe dina narottama dasa
CC

CG

9Fh re ?Sa(hi@7 &aura#s lovely comple2ion shines li(e a golden mirror, and is face defeats the splendour of the moon. !ut what a fool is the 3reator for e only gave me two eyes which blin(7 Fh ari7 >hy was : ever born in the first place= &ora#s strongly%shaped limbs defy the elegance of a golden mirror. So why couldn#t : become overwhelmed by seeing im= is arms e2tend to is (nees, a forest garland graces is nec( and malati flowers decorate is hair. 'hus seeing &aura#s splended murati hundreds of kulavati ramanis- become drenched by 3upid#s splashing waves. 'ears incessantly stream from &ora#s eyes, and what sort of mantra does e
-@

kulavati ramanis+ chaste housewives

>ha=ter &ne repeatedly utter= nha7 6rovidence has deprived me for owing to my absorbtion in maya : couldn#t understand the melows of is !arana seva. !ut aho7 ,s priya &adadhara stands on &auranga#s left side "adiya beomes transformed into Vra*a7 )allen "arottama says + Fh van!ha kalpa taru &ora, Fh "atha ?5ord@, please accept me.9 Sri Go%inda dasas >ontri0ution sri nanda nandana gopijana vallabha sri radhika nayaka nagara syama so saci nandana nadiya purandara sura munigana mano mohana dhama jaya nija kanta kanti kalevara jaya nija preyasi bhava vinoda vraja tarunigana locana mangala nadiya badhugana nayana amoda 9Fur sacinandana is "andanandana, &opi*ana vallabha, +adha#s nayaka and Nagara syamasundara. e is full with all opulences in "adiya- thus e is the attractve pleasure abode for all the munis and devatas. So all glories to is kantas ?sweethearts@, to is effulgence, and to is beautiful form7 ,nd all glories to the mind enchanting bhavas of is consorts for e is ,uspiciousness personified. )or the Vra*a tarunis#eyes, and 6leasure personified for the "adiya nagaris.9 'his madhura pada is instructive not only because it li(ens +adhi(a#s beloved Nagara syama with Sri sacinandana but it also e<uates $rsna#s kantas ?sweethearts@, along with their vinoda bhavas ?enchanting moods@, with &auranga#s kantas. :n other words, the "adiya nagaris are non%other than the Vra*a gopis. 'hus, from this perspective a vast new relish of &auranga#s pastimes opens. Vaisnavas traditionally sing this popular song before listening to the !hagavata. Aet moreover, Sri &ovinda dasa is acclaimed as one of the greatest Vaisnava poets to ever appear. ,s the son of 3aitanya Mahaprabhu#s associate, 3iran*iva Sena of Sri(handa, &ovinda dasa wrote during the pea( of a renaissance when &auranga#s prema dharma was resurging in !engal after gaining remendous momentum in Vra*a from the Si2 &osvamis#preaching. 0uring this era many other rasika &audiya Maha*anas also helpt to increase the breadth and the depth of Sriman Mahaprabhu#s prema ratnakara ?ocean of prema rasa@ >ith their e2tensive contribution of Vaisnava padavali. )or indeed these padas represent the mature culmination of the essence found in the &osvami sastras. :n early life &ovinda dasa wasn#t a Vaisnava, until a traumatic incident happened+ e fell very ill and was on the verge of death. :t was then that his older brother, Sri +amacandra $avira*a -, brought Srinivasa ,carya to the place where he lie in a coma. !ut by Srinivasa ,carya Js merciful touch ?on the
CG

CH

forehead@ &ovinda#s high fever suddenly bro(e and he was cured. 'hen &ovinda#s life changed, and on the spur of the moment he composed his famous poem+ bhaja hunre mana sri nanda nandana abhaya caranaravindare ,,,
-@

+amacandra $avira*a-+ Sri "arottama dasa#s most intimate friend

>ha=ter &ne ,,, to praise the value of Vaisnava sat sanga. 5ater after becomming Srinivasa#s disiple, &ovinda dasa#s poetic s(ill fully blossomed- and then Srinivasa would often come to listen to his poetic discriptions of &aura and &ovinda#s sweet lila* Srinivasa was indeed pleased with his disciple, and blessed him with the title, Ekaviraja#. !ut when &ovinda dasa#s poetry reached the Vrndavana Vaisnava community, his acclaim increased, for Kiva &osvami re%confirmed Srinivasa#s blessings by sending a letter to !engal declaring &ovinda dasa as the Ekaviraja# for his amaDing poetic prowess. 'hese historical events lend support to the "adiya nagari doctrine because many of &ovinda dasa#s padas about &auranga capture im in this spirit. 'hus we may conclude that Srinivasa ,carya and Kiva &osvami also support these mellows. :f otherwise, why would they honour such poetry so highly= ere is a sample+ dekha dekha nagara gaura sudhakara jagat ahaladankari nadiya purabara ramani mandala mantana gunamani dhari sahajei rasamaya sahacara urugana majhe virajita nagara raja madana parabhava badana hasa dekhi vinasai ranginigana bhaya laja bhakata vrnda citta kairava phullita nisidisi udita hiyaka vilasa rasiya ramanicita rohini lasaka anuksana purala na rahe hrase aiche vilasa prakasa vinodini vilasai ulasai bhavini bhava pada pankaja para govinda dasa cita bhramari ki paoaba madhuri labha Fh Sakhi7 95oo(, loo( at that Nagara7 e#s the &olden full moon >ho elates the entire universe. ,nd while surrounded by the sundari ramanis of "adiya, e#s a Kewel of <ualities. !eing carefree and rasamaya, e appears li(e the Nagara raja amongst is associates. ,lthough is smiling face con<uers 3upid, it also smites every playful, young girl#s fear and shyness. 'hus the bhaktas- lily%li(e hearts are over*oyed as e continuously plays within their minds. ,nd *ust as the moon en*oys vilasa ?love ma(ing@ with the +ohini star &auranga e2cites the young ramanis&minds with unceasing erotic rapture. Such prema vilasa e en*oys with the "adiya vinodinis while refreshing their bhavas. 'hus the lady%bee of &ovinda dasa#s mind han(ers to sip the sweet honey from is lotus feet. >an Gauranga Gi%e U= 'is $re%ious Nature<
CH

C5

"arahari 3a(ravarti offers a logical e2planatioin for Sri &auranga#s nagarali affairs in the following pada+ nadiya nagare nagarali jata nahika tahara lekha anyera kathate je hauka se hauka iha ta amara dekha -@ bhaktas+ ;sing a long Ea# over the last syllable &ovinda dasa refers to the bhaktas of feminine gender >ha=ter &ne jadi bala ei avatare iha sambhava ki rupe hoy achaye tahara karana prasidha sakala lokete kaya jara je svabhava thake taha keha kabhu na charite pare svabhavanarupa kore krda karu ni-sdha kichu na kore jadi mane kora e rupa ihara svabhava kotha na dekhi tahate tomara nivediye suna ihate jagat saksi ei sacisuta jasoda nandana taha ki na jana tumi vrndavane jata nigura vilasa taha ki janaba ami ei sei, sei ei, saba priya parikara sangete laiya viharaye sada nadiya nagare nija gunagane magana haiya nava nava kulabati kula kula kalanka laji tilanjali diya narahari saksi sara kaila sabe sukhamaya gora parana priya %aura carita 'intamani ,s two devis from heaven pea( through the clouds, they discuss &auranga#s similarity with $rsna+ 9'here is no end to &auranga#s "adiya nagara antics-, and : don#t care a fig about what others say for :#ve seen them with my own eyes. Aet if someone <uestions, E:n this Avatara how is that possible=# :#ll anwser, Eloo(, everybody (nows that no%one can change their nature. So ?even if restricted@ won#t e act according to is nature anyway=# !ut if they reply, E: haven#t witnessed this nature of is#, then : will anwser, Ethe whole world is a witness for don#t you (now that saci#s dulala was previously Aasoda "andana= So must : mention all about Vrndavana#s nigura vilasa ?intimate love affairs@=#,nd Vrndavana is "adiya, and "adiya is Vrndavana but now $rsna#s Vra*a associates have become &auranga#s priya companions, and as they sing is glories, they en*oy "adiya vihara with im. 'hus stepping over their fear from family disgrace all of the kulavati ramanis C rush to please their prana priya &ora- and "arahari is a witness.9 :ut ;ould the 5ra"a %opis allo* Krsna to !s#a=e< 5et#s relish 5ocana dasa#s pada which candidly portrays two nagaris viewing $rsna#s transformation in "avadvipa+ jahara eka bara gaura natabara nayana konete here tara sati pana rakhaye apana asite pare ki phire sunechi purane radhikara sane tahari premera katha tila adha jare na dekhile more se kena asibe hetha preme rhini haiya ela palaiya yamuna haiya para
C5

C6

gopa kula chari dvijakula avatara bara bhaya mone lukayeche kala rupa kaca sona mekhe hoyeche rai svarupa

ela naide puri pache keha sune nija anga deke

-@ nagara antics+ flirtatious activities C@ kulavati ramanis8 chaste and beautiful newly married girls >ha=ter &ne iha jadi suni vraja gopigane eseche dvijera puri nagarali pana tabe jabe jana bhenge dibe bhari bhuri se raja kumari navina kisori jahara koreche dhara duti pathaiya jabe bedhe laiya dohai na manibe kara gokula nagare kalanka sagare majayeche kula badhu dese ke na jane cora kanu bole videse hoyeche sadhu 9Sakhi7 'he young married girls who view &aura nataraja ?*ust once@ surely become chaste A for they cannot remove their eyes from im. Aet :#ve heard all about is love escapades with +adha in the uranas. nha7 e#d die if e missed seeing er for only a split second7 !ut why would e come here= 9 'he other sundari ramani answers+ 9;surping a debt for the gopis unconditional love, $rsna crossed the Aamuna and fled the is gopa community7 'hus comming to "adiya, e advented amongst the brahmanas. Aet still fearing li(e anything, e smeared is blac( form with gold to ta(e on +adha#s svarupa. !ut if the Vra*a gopis catch wind of is hiding amongst the brahmanas they will certainly spill all of the evidence revealing im as &o(ula#s Nagara. 'hen Navina kisori raja kumari Radha will send er sakhis to collect er duesand they won#t listen to any e2cuses7 +ather, they#ll bind and ta(e im away, saying+ E,ho7 Aou#ve left our &o(ula village an ocean of scandal for who doesn#t (now that Aou#re a gopi-!ora ?thief of others# wives@7 So do Aou have the gall to hide in a foreign country calling Aourself a sadhu#=9 'his is rasa. ere we discover why "adiya nagari bhava is the logical outcome of the gopis& plight after $rsna left them to become &ora. ,s e wanted to hide imself for the chance to relish their sweet mellows would they let im get away with it alone= ence, a new sensational rasa is born as they re*oin im in "adiya. !ut this time the Vra*a sundaris are e<ually clever as their Master for they hide their nari svarupas to ta(e up malae forms. :n Sri "arottama dasa 'ha(ura#s song, 9hede he nagara bara - suno he muralidhara ,,,9 +adhi(a prays to ta(e birth as a male so that She may always remain in $rsna#s company. er heartache is thus e2pressed+ 9Fh My nagara bara7 Fh hey Muralidhara7 6lease listen. >hen Aou go cowherding in the
C6

C1

forest with Sridama and Sudama, : watch by the (itchen door and My heart follows as : gaDe upon Aour sweet face. !ut dreading being discovered by my relatives, : pretend that the stove from the (itchen stove ma(es Me cry. Fh My *ewel%li(e Ramana ?5over@7 ,las7 :f providence had not created Me a woman surely : could have always roamed with Aou from place to place.9 !efore going on to the ne2t chapter to relish the nagaris&purva raga for &ora, it will be appropriate to say a few words about the type of adhikara re<uired for appreciating such intimate affairs. )or such thoughts, han(ering and anubhava ?divine realiDation@ >ha=ter &ne may awa(en in a sadhaka bhakta&s heart only after the mature ripening of his Vra*a gopi bhava. :n other words, when one becomes adept in manjari sadhana and receives the fortune to meet an e2perienced Mahatma absorbed in nagari bhava only then can such an advanced form of raganuga bhakti begin. )or one#s pra!!anna ?hidden@ "adiya nagari form is an e2tended feature of one#s manjari svarupa ideal for serving in rasika Nagara and rasika Nagari&s ?+adha $rsna#s@ continuing pastimes in "avadvipa. 'o perform Sri Sri &aura &ovinda#s manasi seva, one is advised to first meditate on Sri &aurasundara#s +adha bhava lilas. )ollowing &aura#s mood into Vra*a, one then meditates on servong in each Vra*a pastime as +adharani#s dasi. !ut when the sadaka is adept in such seva, he may re%enter "avadvipa to focus on Sri &auranga#s rasaraja feature. :n essence Vra*a lila and &aura lila are one. 'he "avadvipa pastimes represent Rasaraja Sri $rsna#s Eparisistha lila#, further adventures meant for relishing prema&s ever%new e2pressions.

>ha=ter 3*o 3he Nadiya Nagaris $ur%a Raga 'a(ing up where we left off, this chapter will continue disclosing how srngara rasamaya &auranga has all of $rsna#s captivating features. Aet moreover, &auranga#s alluring side%long glances, power of sub*ugation and bhuvana mohana rupa ?universally enchanting form@ even outmatch $rsna#s. , stri(ing e2ample is found in the story of ESvapna vilasamrta#, where Srimati +adharani has an amaDing dream. ,s the scene opens, Srimati is lying asleep while tenderly embracing er prana &ovinda after 'hey en*oyed nikunja vilasa. !ut then a startling dream frightens +adha+ She sees a beautiful, &olden purusa who is madly crying 9$rsna7, $rsna79 Kust as She does when weeping for im. ,ho7 Srimati#s mind races after &ora eventhough She is tightly embraacing syamasundara7 'hus overwhelmed, Srimati#s slumber brea(s 9 aya, haya79 She e2claims. 9>hat did : see=9 'hen restlessly pushing on $rsna#s side, She as(s im. ,nd after relating er dream, $rsna smiles, and replies+ 9Fh rana priye7 Aou have seen Rasaraja &auranga but don#t thin( otherwise, Aour prema has molded Me as such.9 'he moral of the story is that &ora#s incredible alluring power can (idnap even Maha bhava svarupini +adha and right from $rsna#s lap7 So when this happens, what will be the plight for the young taruni ramanis of "adiya= ,s &auranga#s beauty can brea( +adharani#s chastity for $rsna, will their chastity for their so%called husbands remain= :ndeed, it is only after attaining &auranga that a woman#s chastity can fully blossem. ,nd why is that= Fnce seeing im, could she thin( of anyone else= :n 90hamali9, 5ocana dasa offers testimony by describing his purva raga- for &auranga in nagari bhava+
C1

C.

sacira gora kamera kora dekhlam ghatera kule cacara cule beriya bhale nava malatira male kaca sosa lage ghrna rupere tulana dite hena citacora manohara naiko avanite ki ara balcho go sai tomaya bujhaba ki snane jete sakhira sathe gaura dekhechi se rupa dekhi duti akhi phiraite nari punah tare dekhbar tore kata sadha kori ki ara balbo go sai tumi ta acha bhala amara maramer katha maramei rakhila jagite ghumate sada gaura jage mane locana bale je dekheche sei se uha jane 9Fh sakhi7 Mother saci#s &ora is a %amera kora ?,bode of kama@ ,,, and : *st saw im by the &anga#s ghata7 is lovely curling hair tossed so elegantly over is forehead ,,, and is !ura ?top(not of hair@ was bound with malati garlands. ;h7 "ow even molte gold ir(s me for it#s incomparable with is effulgent limbs. So is there such a eart%stealer, or Mind%thief, anywhere else in the whole creation= !ut what are you saying, sakhi= ,,, ,nd how can : e2plain it to you= ,,, when : went with the sakhis to bathe : saw &ora7 'hen : couldn#t retract my eyes from im ,,, and now : only han(er to see is e2<uisit form again7 Fh sakhi, what more can : say= Aou#re still acting normal ,,, so : guess that my heart#s confession will have to remain inside. )or
-@

purva raga+ the stage before meeting the beloved ?preliminary attraction@

>ha=ter 3*o during wa(ing, or sleeping, &ora always fills my mind. 5ocana says, only those who see im will (now what :#m tal(ing about.9 ,nd having seen, Vrndavana dasa 'ha(ura confirms 5ocana#s addressing &auranga as the ,bode of divine kama+ visvambara murti jena madana samana divya gandha malya divya vasa paridhana A Sri 3aitanya !hagavata 9Visvambhara#s bidy is *ust li(e Madana#s ?3upid#s@ decorated with divine garlands, pleasing parfume and fine dress.9 !ut this is an under%estimation for 5ocana, who says+ manamatha gauranga rupa heri prana kade manamatha koti koti jiniya gauranga tanu sarva ange labanya apara 0hamali 9nha7 Seeing &auranga#s madhura form my heart cries- for is every limb defeats the amour of millions of 3upids79 ence 5ocana goes on describing his deep attraction+
C.

C/

rupa lagi akhi jhure gune mana bhora prati anga lagi kade prati anga mora hiyara parasa lagi hiya mora kade parana putali mora hiya nahi badhe ami kena suradhuni gelam kena gaura rupe nayane dilam ami kena cahilam gaura pane amaya hanle duti nayana bane amara nayana bole o rupa dekhe asi amara mona bole haige tara dasi kore nayana pathe anagona amara pajara kete kallo khana gaura rupa sagarera pichala ghate amara mana giya taya par lo chute eke gaura rupa taya piriti makha tate isata hasi nayanabaka gorara jat rupa tata vesa o se bhav te pajara sesa gora rupa lagi akhi jhore gora gune mana bhora kore tila adha pasarite nari sadai hiyara majhe dhori ei buke ciriya rakhi paraneri sange mone hole bahira kore dekhi mukha cande gaura rupa hei sabara antara ullasa ananda hrdaya kahe e locana dasa 9&auranga#s rupa soothes my eyes, and is <ualities captivate my mind7 'hus my limbs cry to embrace is limbs7 Aet when is form envelopes my mind, it cries too7 so haya7 haya7 :#m unable to bind my heart ?li(e a doll@ with is.

>ha=ter 3*o Fh why did : go to the Suradhuni &anga= ,,, >hy did : alow my eyes to see &ora#s beautiful form= ,nd why did : loo( upon is sweet face= )or is flower%arrow%glance has pierced me7 ence my eyes are telling E*ust go see im again.# ,nd my mind dictates E*ust become is dasi*& >hen my eyes glanced up a down is sweet form, my heart tore to pieces7 :n fact, the &anga#s ghata turned slippery from the madhuri of &auranga#s rupa sagara. !ut nha7 ,s my mind raced to embrace im, it slipped and fell.9 Fn the other hand, the thic( butter of piriti ?love, prema@ is spread over is entire body but there#s a slight smile on is face, and is eyes are shifty. 'hus contemplating &ora#s insatiable form, my chest bursts7 nha7 is rupa steals my eyes, and is <ualities drive me mad. Fh, : can#t forget im even for half a second- for e is always on my mind. So : would *ust li(e to tear out my heart and paste it to is moon%face7 'hus 5ocana dasa Js heart overflows with ananda seeing everyones#*oy.9 :t is lamentable that the madhurya of 5ocana#s padavali can never be duplicated in 4nglish. )or his down to earth village style collo<uial !engali has a soul%stirring twist that 4nglish words *ust can#t capture. Aet for those (nowing !engali, a graceful, e2horbitant Sarasvati river of rasa can be
C/

GI

discovered flowing with every beat of his simple, sweet and life full poetry. Fn the other hand, however, sometimes 5ocana#s star( fascinations for preaching &auranga#s parakiya rasa gets the better of him. 'hen, due to the e2cessive churning of his &aura anuraga, he even becomes oblivious, or fearless, to public scandal. Fr, as Sri aridasa dasa !aba puts it+ 9:n order to show &auranga#s srngara rasaraja svarupa, and to relish such bhavas, 5ocana has placed the garland of &auranga#s kalankas ?disgraceful scandal@ upon his own chest.9 Gaura Kalankini/ ,nd here is an e2ample+ baluk baluk sakala loke gaure kalankini dhik jara kula rakhe kulera kamini nadiya nagare gauracanda cale jaya canchala nayana kori dui dike caya nagaridera netra jena bhramarara pati gaura mukha padma madhu piye mati mati padma madhu pane tadera dekhiya ullasa gaura guna gaya e locana dasa A from 0hamali 9Fh let them say it, *ust let everyone call me, E&aura kalankini ?scandaliDed by &aura@7 ,nd damn those yooung damsels who cling to their so%called family prestige. >hen &auranga wal(s through "adiya, is flirtatious glances roam both sides of the path. 'hus the nagaris# eyes soar li(e thirsty bees to sip the honey from is lotus face. Seeing them happily relishing, 5ocana dasa *oyfully sings about &auranga#s <ualities.9 as 5ocana#s chest overflowed with the pride of his unconditional &aura prema= 6erhaps- yet there is another reason too which causes him to run amuc( in the ecstacy -@ &aura kalankini8 a young girl who is disgraced by &auranga >ha=ter 3*o of his madhura tie with &ora. 'hus he aassures another "avadvipa vasini as follows+ dhara ara nahi sai dhara ara nai buka sthira kori sabe raha eka thai je je baluk ta baluk taha na sunibe kalanka pathara majhe satara eriba baluk sakal loke gaura kalankini dik dik dik sai kulera kamini gaura paribada e ta sabai paibe locana bole kare bhaya kora ara tabe from 0hamali ;hy )ear< 90on#t fear sakhi7 'here#s nothing more to fear. 5et#s ta(e the load of our chests and try to remain calm. >homever may criticise let them, we won#t listen. >e#ll *ust swim across the ocean of scandal
GI

G-

to escape. Fh let them adress us E&aura kalankini#7 ,nd sakhi, damn, damn, damn those chaste, young housewifes7 5oo(, everyone is going to end up disgraced by &ora7 'hus 5ocana says, then we#ll have nothing more to fear.9 'his pada is meant for two types of listeners, those taing part in &auranga#s madhura lila, and us too. 5ocana#s fearlesness is born from deep realiDation and confidence. Fn one hand he (nows about &auranga#s magnanimity which spurs is inner desire to share madhura rasa with every bhakta. Aet he is confident too that no%one can resist is insurmountable beauty and charm. ence, the conclusion is that everyone will become E&aura kalankini J ?li(e himself@. 'hen who will be left to criticise= !ut for those who oppose nagari bhava, herein we can imbibe a hint+ :f someone were to mercifully tell them about &auranga rasika nature, could they resist= :n other words, when properly informed about the full spectrum of &auranga#s parama karuna, they too would become attracted, no doubt. )or such is the all encompacing power of &auranga#s mercy. :ndeed, this is what &auranga han(ers for- yet e laments because such bhaktas are very rare+ prithibite asiya amio iha cai khoje hena jana more kathao na pai 3aitanya !hagavata 9My desire in comming to this world is to find those who *ust search after Me - but such people are very rare.9 !ecause the ma*ority of is followers lose sight of im as their ultimate goal, &auranga has spo(en. Sri 5asude%a Ghosas $ada%ali 'he three brothers, &ovinda, Madhava and Vasudeva &hosa were very dear parsadas of 3aitanya Mahaprabhu, and e2pert singers in is sankirtana pastimes. Aet of the three, Vasudeva became the most prolific, and popular, for his vast contribution of Vaisnava padavali. !ecause he composed his padas after directly witnessing >ha=ter 3*o &auranga#s activities, they are valuable for their historical accuracy, besides the deep bhavas which they e2press. 'hus Srila $avira*a &osvami praises in 3aitanya 3aritamrta + vasudeva gita kore prabhu varnone kastha pasana drabe jahara sravane 9>hen the songs composed by Vasudeva &hosa are heard even the stones melt.9 :n conte2t with this essay, it is noteworthy that a large percentage of Vasudeva &hosa#s pada&s describe "adiya nagari bhava* Aet by sampling them we can learn that he ?along with his brothers@ not only support this mode of worshipping &auranga they are counted amongst the nagaris of whom their songs describe. ence their songs form a living account, or first%hand testimony to Sri &auranga#s rasika nature. ere is a sample+ madana mohana mani gauranga badana khani rupa heri ki na haila more sonara varana tanu ei chila kala kanu nahile ki mana curi kore? rasera parana jara kule ki koribe tara
G-

GC

nadiya nagara hena jana ki chara daruna mati majila jubati sati ghare ghare premera kadana nayana kamala nava aruna parabhava dhara bahe mukha buka bahiya aha mari mari sai marama tomara kai jiva na go gora na dekhiya hiyaya premera sara tanu kaila jara jara probodha na mane more prani suradhuni tire jaiya bhasaiba kula krida bhajiba se gora gunamani purabe suninu jata sei saba abhimata eve bhela kalatanu gora vasudeva ghosera Visnuani rasika nagara jani nahila ki gopira mana cora Ru=a Anuraga 9 : consider &auranga#s face to be li(e Madana mohana&s- and when viewing is body : am unable to describe my captivation7 Fh, this &olden youth must have been that !lac( youth $rsna for how else could e have stolen my mind= !ut what about the "adiya damsels who have a rasika heart, will their so%called family tie be able to stop them= ow will they resist im= ,nd what can we say about the intense agony of "adiya#s chaste young girls for their love%lorn crying can be heard from every home. ence their soft, lotus%eyes, con<uered by the &auranga%sun, now pour tears that stream over their breasts. Fh sakhi7 :#m going to pass away ,,, so *ust hear my confession+ >ithout properly (nowing never classify &ora as ordinary for my mind has fathomed the sweetnes of is prema my body is burning in a fever and my heart cannot be pacified without im7 Kust let me go to the &anga and drown all of my family obligations- then : shall full worship &ora guna mani. nha7 3oncerning everything that : Jve heard about dar(%comple2ioned $rsna the same applies to &ora. 'hus Vasudeva &hosa says, : (now that e is a Rasika nagara for how else >ha=ter 3*o could e have stolen the gopis& minds=9 )rom the selected padas that we have selected so far, we can see that the Mahajanas who write them loo( upon themseves as young, married girls in &aura lila. 'hus there is an unseen mystery ta(ing place here that can baffle even the learned scholars. Fne might as(, therefore 9:s this type of rasa that &ovinda dasa, "arahari Sara(ara, 5ocana dasa, Vasudeva &hosa and others describe really ta(ing place, or is it *ust a (ind of fascination, or bhava, that they relish within their minds=9 >e won#t try to answer this <uestion now, for this chapter only deals with purva raga ?tha stage of preliminary attraction for &auranga@. So after presenting more evidence, the right moment for this discussion will automatically present itself in an upcomming chapter. ,t present, however, in conte2t with Vasudeva and &ovinda &hosa, their Enari abhimana# ?female mentality@ appears natural, for previously they were attracted to $rsna as the twin sisters, Sudevi and +angadevi of Vra*a. Sri &ovinda &hosa writes as follows+ nadiya nagarigana kade tara anukhana
GC

GG

basana bhusana nahi bhaya suradhuni tire jaite dekiba gaurana pathe kota dine habe subha dina canda mukhera vani suni juraba tapita prane govinda ghosa deha khina 9'he "adiya nagaris cry continuously, and they have lost all care for their dres and ornaments. Fn the way to the Suradhuni they simply contemplate+ EFh when will we see &auranga coming along this path= ,,, Fh, how many days will we have to wait for is auspicious darsana= ,nd when will we again hear sweet words emanating from is moon%face= )or only this will sooth our depressed hearts. 'hus &ovinda &hosa#s body has become thin.9 Vasudeva &hosa#s ne2t pada further reveals about his internal mood+ niravadi mora mone gora rupa lagiache bala sakhi ki kori upaya na dekhile gora rupa vidariya jaya buka parane bahire haite caya kaha sakhi ki buddhi koriba grhapati gurujana bhaya nahi mora mana gora lagi parana tyajiba saba sukha teyaginu kule jalanjali dinu gora vinu ara nahi bhaya ujhore jhoraye akhi suno go marama sakhi vasu ghosa ki koribe taya 9Fh sakhi7 6lease advise me what to do= ,,, My mind is always fi2ed on &ora. ,nd without seeing is form my heart is brea(ing so my soul wants to leave my body7 Fh sakhi 7 >hat can : do= 'he fear of my husband and family superiors has gone so : am thin(ing to commit suicide for &ora7 :#ve disgarded all other happiness and thrown aside my family dharma for : (now nothing else but im. 'hus, with tear filled eyes, Vasu &hosa emplores+ Fh prana sakhi7 >hat shall : do=9 ere, with the mention of a husband, and suggesting the presence of a mother%in%law, sister%in%law etc., Vasu &hosa fully merges with his "adiya nagari svarupa. ,nd this is not a daydream, or the play of his imagination, but the testimony of an inner%world that many other &aura associates ta(e part in. )or there are literally thousands of padas written by countless &audiya Mahajanas which verify Vasudeva#s e2periences. "adiya nagari bhava is not simply e2cluded to those who were previously gopis in Vra*a. ,nd we find the e2ample with Murari &upta who was previously anumana. Sri (urari Gu=tas $ada%ali ere is a sample of Murari#s akhepa anuraga ?intense feelings of remorse@ in the pangs of &aura viraha+ sakhi he gora kena nisturai mohe jagate koriya daya diya sei padachaya vancala e abhagire kahe
GG

GH

gaura preme sapi prana jiu kore anacana stira haiya rohita nari ghare age jadi janitam piriti na koritam jaciya na ditu prana pare ami bhuji jara tore se jadi na caya phire emana pitite kiva sukha cataka salila cahe bajara khepile tahe jaya phati jaya kina buka murari gupta kaya piriti sahaja naya visese gaurana premera jvala kula mana saba chara carana asraya koro tabe se paibe sacira bala 9 Fh sakhi, why is &ora torturing me= ,lthough mercifully offering the whole world the shelter of is lotus feet, e neglected an unfortunate girl li(e me. : gave my life for &auranga#s love but now my soul is burning- thus : cannot remain peaceful at home7 :f : would have (nown ?what would have happened@ : wouldn#t have surrendered my heart. )or as : suffer from for im e#s indifferent. So what is the happiness in such love= :t#s *ust li(e the !ataka bird who tries to relieve its thirst from the cloud yet becomming struc( by lightning its chest blows to pieces79 'hus Murari &upta says, 95ove isn#t simple, especially when suffering the pain of &auranga#s prema. )irst a young girl must give up her family and her pride, and then after ta(ing shelter at is feet, she can attain the Son of sacaryai.9 ere is another e2ample where Murari &upta totally merges in nagari bhava+ dande dande tile tile gora rupa na herile marama moriya jena thaki sadha haya nirantara hemakanti kalevara hiyara majhare sada rakhi bareka na dekhi taya pajaradhasiya jaya dhairaja dhorite nahi pari anuragera duri diya antare ki kore hiya na jani tara katai dhara dhari suradhuni tire giya kula diba bhasaiya anala jvaliya diba laje gauranga sanmukhe kori gauranga kalanka mala galaya porite sadha lage murari gupta bale bhale dage dage dile gupta gauranga anurage 9)rom hour to hour, and from second to second, my heart is dying for want of &ora#s rupa darsana. My ambition is to always hold &auranga#s hemakanti kalevara ?golden body@ within my mind. !ut alas7 >ithout seeing im my heart brea(s, and my patience is fleeing. ,ho7 'he rope of anuraga is pulling my mind for : failed to estimate the power of is sub*ugation. So :#ll *ust go to the Suradhuni &anga and drown my family attachment and burn my shyness in a bonfire. 'hen : shall satiate my eyes seeing &auranga standing before me why should : perform my housewor( needlessly= ,s : am a chaste young girl, a yearn to wear the garland of &auranga#s scandals around my nec(. 'hus Murari &upta says- E&auranga has placed a fine scar on me for my secret anuraga7#9 Murari &upta lived in the same neighborhood as 3aitanya Mahaprabhu, and was the 5ord#s senior classmate in &angadasa 6andita#s sans(rit toll ?school@. 'hus witnessing &auranga#s pastimes from the
GH

G5

beginning, he (ept a kor!a ?diary@ to record all of 3aitanya Mahaprabhu#s "avadvipa activities. 'his Ekor!a# later became a great source wherefrom Vrndavana dasa, 5ocana dasa and $rsnadasa $avira*a gathered their information to write 3aitanya !hagavata, 3aitanya Mangala and 3aitanya 3aritamrta. ence, as the forerunner of 3aitanya deva&s other biographers, his pen certainly commands a lot of weight concerning authority. 'herefore, as he writes songs about nagari bhava also, this reveals that such sentiments with the 5ord have e2cisted from the very beginning. !efore investigating further about how deeply involved &auranga#s nagarali pastimes are, let us go on to the ne2t chapter to confront the reasons why many Vaisnavas misunderstand, or oppose these types of mellows.

G5